Review: HEX, National Theatre

Poor Hex. Scuppered by Covid last year before it even got to press night and dogged by rumours of nepotism, this re-working of the fairytale Sleeping Beauty had a lot to overcome. It could have been the festive highlight at The National Theatre, but is compromised by a meandering story and less-than-captivating songs.

A useless fairy accidentally puts a Hex on a baby Princess Rose, who pricks her finger on a thorn and then must sleep until she woken by a prince's kiss. However, when she meets Prince Bert, she must deal with a ogress mother-in-law called Queenie, who wants to eat her grandchildren. Meanwhile the fairy haphazardly tries to smooth things over to fix her mistake.

As a story, it has potential, but the plot is awkward: what is the backstory of Fairy? We never find out why she is terrible at spells. The time-travelling nature of the story means that we see Rose and Bert as star-crossed lovers, then suddenly they are bickering parents. It also seems odd that the ogre wants to eat humans, but does not seem to tell the difference between human flesh and a goose, when tricked by Fairy into believing she is eating her grandchildren. It is also too long; at over two and half hours there could be some judicious editing.

It is hard to determine what is the moral of the story. To coin a phrase: do we have faith in our 'authentic selves' or are we meant to fight against our instincts? The answer is unclear. There is also a glaring opportunity missed to address the issue of consent in the story. Rose is woken by an unsolicited kiss, giving an open goal to discuss it or make fun of it, but neither happens.

The music is good, particularly the opening "Nature Of The Beast" and the blissful "The One". There's some fun to be had with the anarchic Ska influences of "Nature Of The Thorns". Full credit to the musicians, who work their socks off to maintain the pace of the show. It is Norris' lyrics that are a weak point; they are basic, do not give the characters enough purpose in their stories and repetition is rife.

Katrina Lindsay's costumes and set are fantastic, particularly the decadent crib, the castle that transforms into Rose's bed and the floating, shimmering gowns of the High Fairies. Although it does seem odd to have a wood made from spinning wheel spindles on poles, when there is no reference at all to the traditional spindle in the story.

Jade Hackett's choreography is slick and energetic, with some lovely set pieces from the bullying pack of 'thorns' and the foppish group of unsuccessful suitors. Paul Anderson's ethereal lighting creates magic and jeopardy in all the right places.

Victoria Hamilton-Barritt is superb as the grunting, flesh-eating Queenie and Lisa Lambe is fabulous in both voice and character as the bedraggled Fairy. Michael Elcock lights up the stage as Bert with a self-deprecating and comedic air and Rosie Graham is delightful as Rose.

Hex is an enjoyable family show, but is frustratingly bogged down by certain elements to be a real success.

Hex is at The National Theatre until 14 January 2023

Photo Credit: Johan Persson

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